FC Bergman theatre-makers drew inspiration for The Land of Nod in a fact of contemporary social life. Due to the massive renovation of the Flanders Royal Museum of Fine Arts in Antwerp, the Rubens’ Gallery — one of the sacred places for the cultural code — had to be closed for several years. The stage design of the performance is built to let the audience in the museum hall prepared for renovation: all paintings are removed but the one, Christ on the Cross. The spectators become witnesses to the absurd, funny, mysterious and even catastrophic events taking place in the museum. The performance is virtually wordless. The action progresses from ironic pantomime which might as well occur in the reality, to the phantasmagoria. Biblical associations form a meaningful part of the performance which itself bears the name of the land of vagrancy whereto Cain was banished after he had committed his fratricide. The museum as a metaphor of culture and as physical place becomes a shelter where a small human being seeks solace.
After its premiere in Antwerp and a series of performances in Belgium and Netherlands, The Land of Nod was presented within the program of Festival of Avignon and participated in theatre festivals in Switzerland and Spain.
FC Bergman company draws the spectator’s attention to the fact that the production belongs to the site-specific theatre genre.